Mark scheme G353 Introduction to Historical Study in … · Unit G353: Introduction to Historical...

Oxford Cambridge and RSA Examinations

GCE

Music

Unit G353: Introduction to Historical Study in Music

Advanced Subsidiary GCE

Mark Scheme for June 2016

OCR (Oxford Cambridge and RSA) is a leading UK awarding body, providing a wide range of qualifications to meet the needs of candidates of all ages and abilities. OCR qualifications include AS/A Levels, Diplomas, GCSEs, Cambridge Nationals, Cambridge Technicals, Functional Skills, Key Skills, Entry Level qualifications, NVQs and vocational qualifications in areas such as IT, business, languages, teaching/training, administration and secretarial skills. It is also responsible for developing new specifications to meet national requirements and the needs of students and teachers. OCR is a not-for-profit organisation; any surplus made is invested back into the establishment to help towards the development of qualifications and support, which keep pace with the changing needs of today’s society. This mark scheme is published as an aid to teachers and students, to indicate the requirements of the examination. It shows the basis on which marks were awarded by examiners. It does not indicate the details of the discussions which took place at an examiners’ meeting before marking commenced. All examiners are instructed that alternative correct answers and unexpected approaches in candidates’ scripts must be given marks that fairly reflect the relevant knowledge and skills demonstrated. Mark schemes should be read in conjunction with the published question papers and the report on the examination. OCR will not enter into any discussion or correspondence in connection with this mark scheme. © OCR 2016

G353 Mark Scheme June 2016

3

Section A

Section A consists of two recorded extracts. Skeleton scores for both extracts are provided in the Insert.

Choose either Extract 1A (Questions 1 to 10) or Extract 1B (Questions 11 to 21) and answer all the questions on your chosen Extract.

Extract 1A

This extract is part of a set of variations for flute and piano by Franz Schubert. The recording consists of two passages: Theme and Variation.

SCHUBERT, Variations on “Trockne Blümen” for flute and piano, D.802, bars 38-69 & bars 94-116b. Aldo Barten & Martin Helmchen, (2008), Pentone Classics PTC 5186 334 (2009), tracks 7 & 9 [Total length of recorded extracts: 03’46”]

Theme (bar 1 to bar 32) [ track 2 ]

1 (a) What is the key at the start of the Theme? [1]

e (minor)

(b) Identify the key to which the music has modulated by bar 4. [1]

G (major) / Relative major

2 The material of bars 1 to 8 is restated at bars 9 to 16. In what ways is the music altered in the restatement? [3]

Melody moves from piano right-hand to flute (1)

Melody line now an octave higher

Piano now accompanies

…with detached chords (1)

Credit valid references to flute decoration of the melodic line (e.g. bar 14)

3 The following chords are used in the section from bar 17 to bar 20: [4]

B major

D major

E minor

G major

On the score indicate where these chords occur by writing in the boxes provided.


4

Award 1 mark for each chord positioned accurately

4 What type of cadence occurs in bar 24? [1]

Imperfect

Interrupted

Perfect

Plagal

5 Comment on the harmony and tonality of the section from bar 25 to bar 32. [3]

Change of key signature to E major (cf. e minor at opening)

Bars 25-26 alternate B7 and E/B (with pedal in bass)

Music passes through c minor (at bars 27-28)

ref. use of more chromatic harmony from bar 29 onwards

Section concludes with a perfect cadence (1) in E (major) (1)

6 On the score insert appropriate dynamic markings in the section from bar 29 to bar 32. [2]

Award 1 mark for each dynamic indication placed accurately (max. 2)


5

7 Outline briefly the structure of the Theme. [3]

A (bars 1-16); B (bars 17-24a); C (bars 24b-32) N.B. Not “Ternary form” (ABC = 1 ; ABC + Bar references = 2 ; ABC + Ternary = 0)

ref. repetition within sections

ref. 2-bar units in the C section

ref. repetition of phrases within A and B, but not in C

ref. anacrusis in B & C, but not in A

Variation (Bar 33 to bar 56b) [ track 3 ]

8 On the score complete the melody line played by the flute in bar 47 and bar 48. The rhythm of this passage is indicated above the stave, and the pitch of the first note has been indicated. [4]

Entirely correct 4 One or two errors of (relative) pitch 3 Three or four errors of (relative) pitch 2 The general melodic shape produced but with largely inaccurate intervals between notes 1 Very little / no melodic accuracy 0

9 Describe the relationship between the piano and the flute in the Variation. [4]

Piano and flute are treated in antiphony (1) opening with one-bar units (1) in the A section (1)

Piano begins; flute responds (1) using interval of a (perfect) 5th (1)

Both parts come together at the cadence point

In the B section the flute has a more independent part (1) and occasionally shadows the piano RH (1) at the interval of a 3rd (1)

In the C section, piano and flute are again treated antiphonally (1) but now in half-bar units (1)

N.B. Credit ref. to antiphony once only in any response.


6

10 Describe the variety of piano writing in the Variation. Included reference to texture and figuration in your answer.

4 marks Answer identifies clear and accurate details of piano writing in the passage, covering both specified aspects

3 marks Answer identifies some accurate details of piano writing, covering at least one specified aspect

1-2 marks Answer identifies only very basic features of piano writing, with superficial detail

0 marks Answer makes no accurate reference to piano writing

Relevant detail that may be mentioned by candidates:

RH states the theme in octaves at first (bars 33-342), later filling out chords (bar 343 onward)

LH plays octaves, moving mainly by step (bars 33-44), alternating with arpeggio / broken chord patterns (e.g. bars 343-4, 363-4, 383-4)

Piano later has a more lyrical melodic line in RH (bars 45-48)….

…above staccato single notes in LH, often rising chromatically

Final section return to LH octaves (bars 49-55), rising and falling by step, both diatonically and chromatically

ref. use of wide piano range; high RH notes (bars 33, 44), low LH tessitura (bars 33-55)

ref. sudden changes of dynamic (e.g. bars 41 and 49)


7

Extract 1B

This extract consists of two passages (Passage 1i and Passage 1ii) from Elmer Bernstein’s film score for the 1961 Western The Comanceros.

ELMER BERNSTEIN, The Comanceros – Main Title, bars 6-42 & 43-74 (no score available). Utah Symphony Orchestra, Elmer Bernstein (1961), from Great Composers – Elmer Bernstein, Varese Sarabande VSD 6077 (1999), track 3, 00’00” - 00’52” & 00’53” – 01’42” [Total length of recorded extracts: 01’42”]

Passage 1i (Bar 1 to bar 37) [ track 4 ]

11 What instruments play the printed melody from bar 1 to bar 162? [1]

Violins

12 The following chords are used in the section from bar 9 to bar 15: [4]

Am

C

Dm

F

On the score indicate where these chords occur by writing in the boxes provided.

Award 1 mark for each chord positioned accurately


8

13 Which of the following playing techniques is used by the snare drum player in bar 16? [1]

Drag

Flam

Paradiddle

Roll

14 A new theme begins at bar 164. What instruments play this melody? [1]

Trumpets

15 On the score, complete the melody from bar 213 to bar 242. The rhythm of this passage has been indicated above the stave. [4]

Entirely accurate 4 One or two errors of (relative) pitch 3 Three or four errors of (relative) pitch 2 The general melodic shape but with largely inaccurate intervals between notes 1 Very little / no melodic accuracy 0

16 Describe in detail the accompaniment of this theme in the section from bar 164 to bar 31. Refer to specific musical features in your answer. [6

5-6 marks Answer identifies specific and accurate features of the accompaniment with precise and detailed references throughout

3-4 marks Answer identifies some accurate features of the accompaniment, but some references lack detail or are general in nature

1-2 marks Answer identifies only one basic feature of the accompaniment, with superficial or no reference to detail

0 marks Answer makes no accurate reference to the accompaniment


Ref. side/snare drum roll at start

New countermelody added on glockenspiel

ref. use of triplet rhythm (allow syncopation) in groups of minims

ref. countermelody rises and falls by step

ref. countermelody stops at cadence points (e.g. bars 22-24)

ref. “swirling” violin figuration rising by step in short note values / semiquavers

ref. bass line based largely on rising broken-chord patterns and no longer using dotted rhythms that characterised earlier accompaniment


9

17 What playing technique is used by the guitar in bar 36 and bar 37? [1]

Strumming

Passage 1ii (Bar 38 to bar 69) [ track 5 ]

18 What device is heard in the melody line from bar 46 to bar 51? [1]

(Descending) sequence

19 On the score, complete the bass line in 61 and bar 62. The rhythm of this passage has been indicated above the stave. [3]

Entirely accurate 3 One error of (relative) pitch 2 The general melodic shape but with largely inaccurate intervals between notes 1 Very little / no melodic accuracy 0

(Allow either note at bar 613)

20 Comment on the harmony and tonality of the section from bar 61 to the end of Passage 1ii. Refer to specific bar numbers in your answer. [5]

5 marks Answer identifies clear and accurate details of harmony and tonality in the passage with precise reference to location

3-4 marks Answer identifies some accurate detail of harmony and tonality, but location references lack detail or are general in nature

1-2 marks Answer identifies one or two points of harmony or tonality, with superficial or no reference to location

0 marks Answer makes no accurate relevant observsation


Opening is in F major

Reinforced by a series of perfect cadences in bars 61-64

ref. II7 – V7 – I progression in two-bar units

Final phrase concludes with a further perfect cadence in F major…

…underpinned by a tonic pedal in the bass (bars 66-68)

ref. “unexpected” brass chords in bar 67-68 extending the cadence

ref. A major and G major, resolving finally onto the tonic chord of F

ref. inverted dominant pedal


10

21 Compare the structure of Passage 1ii with that of Passage 1i. [3]

Both passages are built on two main themes (A & B) + a coda

Passage 1i has theme A followed by two statements of theme B; in Passage 1ii theme B is stated only once

In the coda section of Passage 1ii the final note is extended


11

Section B

Answer all the Questions in this section (Questions 22 to 34).

Extract 2

The Insert contains a full score of Extract 2 which is taken from the first movement of Bach’s

Brandenburg Concerto no.2 in F, BWV 1047.

Two recordings of the extract from different performances are provided on the CD: Extract 2A ( track 6) and Extract 2B ( track 7). No CD timings for these recordings are given in the score.

BACH, Brandenburg concerto no.2 in F, BWV 1047, 1st movement, bars 592 to 801.

Extract 2A: Karl Richter / Munich Bach Orchestra (1968), Deutsche Grammophon / Universal Music 463 657-2 (2002), disc 1, track 5, 02’20” – 03’07” [Length of extract: 00’47”]

Extract 2B: Trevor Pinnock / The English Concert (1982), Archiv Produktion / Universal Music 410 500-2 (1982), track 5, 02’35” – 03’28” [Length of extract: 00’53”]

22 Explain the following terms or signs as they are used in the printed extract:

(a) tr (bar 1) [1]

Trill (allow accurate verbal description)

(b) piano (bar 8): [1]

Quietly / softly

23 Discuss the music of the first eight bars of the extract. Refer to musical motifs, tonality and instrumental writing. [6]

Marking criteria:

5-6 marks A comprehensive discussion of the score, with comments covering all three aspects of the music and supporting evidence demonstrating aural perception in relation to the precision of its identification.

3-4 marks A detailed answer discussing accurately the music of the relevant section, but with uneven or incomplete coverage of the three aspects, or with evidence identified only generally.

1-2 marks The answer discusses a very restricted range of evidence from at least one specified aspect, with limited or no supporting evidence.

0 marks The answer makes no reference to aspects of Bach’s writing for the instruments in the relevant section.

Relevant information that may be mentioned by candidates:

Focus is placed on the instruments of the solo (concertino) group

Accompanied by a continuo bass line mainly moving in quavers

No use of ripieno (full) strings in this section

ref. contrapuntal entries at two-bars’ distance

Each two-bar unit gives the motif to a different concerto instrument

The sequence is flute / violin / oboe / trumpet


12

As each solo instrument completes the motif, it becomes part of the contrapuntal accompaniment, gradually increasing the texture

Each two-bar unit has a separate tonal centre: B major / g minor / E major / c minor

24 Describe how Bach creates harmonic interest in the passage from bar 13 to bar 161. [4]

In answer to this question, candidates must describe how Bach creates harmonic interest, not simply identify chords used. This means that answers must show an awareness of how the individual harmonic elements (the chords and their perceived tonal associations) work in progression.

Assess responses in two basic stages. Answers must show understanding of elements in the 1-2 mark bands BEFORE credit can be given for additional information that might be offered in the 3-4 mark bands.

1 mark Recognition of chain/series of unresolved/unstable/incomplete…

2 marks Modulations/change of key in each bar

(Dominant) 7th chords

3 marks

Addition of specific detail, e.g.:

Precise identification of any one chord (see below)

ref. to (descending) chromatic bass line

Progression resolves into g at bar 161

4 marks Precise identification of more than one key centre or chord inversion within the progression:

Chord at bar 13 is V7b in F major, and leads to…

Chord at bar 14 is V7d in B-flat major, leading to…

Chord at bar 15 is V7 in g minor, which does resolve

If candidate responses do not demonstrate awareness of criteria in the 1-2 mark bands, award 1 mark maximum in total for any valid observation(s) (e.g. recognition of the chromatic bass line, precise identification of individual chord(s), or resolution into g).


13

25 Discuss the use of sequence and suspension in the oboe part from bar 18 to the end of the extract. Refer to bar and beat numbers in your answer. [4]

Device Bar / beat Musical detail

Sequence 181, 191, 201

Sequential pattern is one bar long

Derived from the trumpet line in bar 172-181

Pattern begins at the start of a bar

Treated in a descending manner

In antiphony with / imitation…

…at a distance of half a bar…

…and a 5th below

Begins on an off-beat / opens with quaver rest

Suspension 191 OR 201 Suspension occurs on first beat of the bar

Doubles the suspensions in the 1st violins…

…but with more elaborate resolution

Resolved by a fall of a 3rd (1) rather than by step (1)

Suspension clashes as a 7th against the bass line at the start of the bar

N.B: Max. 3 marks for discussion of only one specified aspect.

26 Compare the two performances of this music and comment on the similarities and differences between them. You may wish to refer to aspects such as:

tempo

articulation

the instrumental forces used in each performance

the overall sound of each recording. [8]

Marking criteria:

7-8 marks Specific and consistent evidence of aural perception offered across a range of musical features drawn from both extracts, linked to perceptive and well-constructed comparisons

5-6 marks A range of relevant evidence of aural perception offered from both recordings, together with a range of effective comparisons, although perhaps lacking detail in some areas

3-4 marks Some relevant evidence of aural perception offered from both recordings, with an attempt to make some effective comparison between recordings

1-2 marks Limited and/or basic relevant evidence of aural perception offered from at least one recording, but with little or no attempt to make effective comparison

0 marks No relevant evidence offered from either recording


14

Examples of relevant evidence that may be used by candidates:

Tempo

Extract 2A is at a faster tempo than Extract 2B

Extract 2A is approximately = 102; Extract 2B is approximately = 92

Articulation

ref. more clipped articulation in Extract 2B than Extract 2A

ref. ’cello line is more legato in Extract 2A

ref. generally more evidence of articulation/phrasing in Extract 2B

ref. prominent trumpet staccato in Extract 2A

Instrumental forces and their use

ref. trumpet more prominent / strident in Extract 2A

ref. oboe has a much more nasal in sound in Extract 2B

ref. less prominent use of string vibrato in Extract 2B

ref. heavier / more prominent string bass line in Extract 2A

ref. harpsichord more prominent aurally in Extract 2B

Aural effectiveness / “sound” of the music

Extract 2A is at a higher pitch than Extract 2B

ref. Extract 2A at concert pitch; Extract 2B is at period/lower pitch (approx. A = 425)

Both extracts use recorder flutes, but only Extract 2B uses additional period instruments

ref. crescendo-diminuendo in bars 11-12 in 2B, but not in 2A

ref. prominent use of crescendo-diminuendo in bars 13-15 of Extract 2A, but not in Extract 2B

ref. wider range of dynamic contrast in Extract 2A / Extract 2A is generally louder than Extract 2B

ref. concertino instruments appear to be recorded more forward in Extract 2A

ref. sudden swells art bars 11-12 evident in Extract 2B, but not in Extract 2A

27 What is the structural form of the complete movement from which this extract is taken? [1]

Ritornello form


15

Extract 3 [ track 8 ]

There is no score for Extract 3.

This extract is part of Manteca performed by Dizzy Gillespie and His Orchestra. The extract forms part of a solo leading to a chorus statement.

DIZZY GILLESPIE AND HIS ORCHESTRA, Manteca (1947), from The Complete RCA Victor Recordings, Sony BMG / Bluebird 366528-2 (1995), disc 1, track 1, 01’47” – 02’19”. [Length of recorded extract: 00’32”].

28 Name the solo melodic instrument heard at the start of this extract. [1]

Tenor saxophone

29 Describe the playing techniques employed by the solo performer in this extract. [3]

Fall offs / smears

Pitch bending

Blue notes

Slides / glissandi

Vibrato on sustained notes

Staccato articulation on repeated notes

Ornamentation (e.g. occasional use of mordent decoration)

30 Describe the music of the accompaniment at the start of this extract. [3]

Brass (and horn) (1) chords/stabs (1)…

Detached at first (1) then sustained later (1)

Use of fall offs at ends of interjections

Heavy vibrato

Walking bass (1) in the pizzicato (1) string bass

Credit ref. to Cuban percussion / congas if not credited in Question 31

31 Describe two ways in which the accompaniment changes around 00’16”. [2]

Brass (and horns) drop out

Percussion (and bass) only

ref. conga drums and/or Cuban percussion

32 In what ways does the music change at 00’28”? [2]

Becomes more homophonic / chordal

Brass and horns return

ref. brass melodic interest (1) with saxophone countermelodies / antiphony (1)

ref. melodic ascent and crescendo at end of the extract

ref. influence of big band style


16

33 Describe briefly the music that immediately follows the recorded extract. [3]

Trumpet / Gillespie enters with melody line

Opens with ascending leap (1) of an octave (1)

ref. use of high register

ref. vibrato on sustained high note

ref. strident tone

ref. blue notes / pitch bending

ref. descent to lower register

ref. elaborate decoration of melodic line

Accompaniment consists of sustained (1) chords (1) from the reeds / saxophones (1)

Brass drop out

34 Name one other musician who collaborated with Dizzy Gillespie in the composition of Manteca. [1]

(Walter “Gil”) Fuller OR (Chano) Pozo


17

Section C

Answer one of the following questions (35 to 37).

Write your answer in the space provided.

Questions 35 to 37

Marks Characterised by

19-20 Thorough and detailed knowledge and understanding of background to the repertoire,

supported (where appropriate) by detailed and specific examples of music, well-assimilated and applied in direct answer to the question. Ideas well structured and expressed in language of consistently high quality, essentially without faults of grammar, punctuation or spelling.

16-18 Specific knowledge and understanding of the background to the repertoire, supported

(where appropriate) by reference to clearly-identified examples of music, mostly well applied towards answering the question. Ideas generally well structured and expressed in language that is of good quality with very few lapses in grammar, punctuation or spelling.

13-15 Good general knowledge and understanding of the background supported (where

appropriate) by some accurate references to examples of music. Some attempt to apply this in direct answer to the question. Ideas fairly clearly expressed in language that is mainly of good quality, but with minor flaws in grammar, punctuation and spelling.

10-12 Some knowledge of the background to the repertoire, supported (where appropriate) by

references to a few accurate examples of music but with little detail. Ideas not always clearly related to the question and expressed in language that displays some weaknesses in grammar, punctuation and spelling.

7-9 Limited knowledge and/or confused understanding of the background, perhaps

illustrated by references to music that are not always accurate and/or not well understood. Ideas not always relevant or accurate and rather poorly expressed with persistent errors in grammar, punctuation and spelling.

4-6 Little knowledge of relevant background, with little illustration from music examples and

few ideas that bear little relevance to the question. Ideas poorly expressed with serious weaknesses in grammar, punctuation and spelling.

0-3 Very little knowledge of any relevant background, with no musical illustrations and/or

very few ideas.Little coherent thought in the answer and expressed in language of very poor quality.


18

35 Compare the approaches to the concerto in Bach’s Brandenburg concerto No.2 in F, BWV 1047

and Mozart’s Concerto for piano & orchestra in d, K.466. [20]

The main issues / evidence that should be addressed by candidates:

The deployment of instrumental resources/sonorities within each work

Consideration of soloist/ensemble differentiation and its effect in each item of repertoire

Consideration of idiomatic writing and performing conventions for the solo instrument and for instrumental groupings within each ensemble

The instrumental forces employed in each ensemble

Most candidates should be able to:

Describe the basic instrumental resources used in each prescribed work and point out the main similarities and differences between the ensembles

Demonstrate a general awareness of the use of the principal solo instrument within each work and mention some basic ways in which instrumental sonorities are treated in each item

Show a basic awareness of the ways in which soloist and accompaniment parts are differentiated within each item of prescribed repertoire

Mention some general ways in which the genre of the concerto is approached and the use and/or composition of the instrumental ensembles discussed reflect changes of approach to the genre

More informed answers will offer more detail such as:

A comprehensive description of the nature of each ensemble used, drawing clear and perceptive comparisons across the two works discussed

Specific detail across a range of examples that reveal detailed knowledge of relevant musical evidence in the prescribed repertoire

A clear awareness of specific and varied ways in which musical material for both soloist and instrumental accompaniment is handled and developed within each recording, supported by aurally perceptive and detailed comments on the prescribed repertoire

A detailed survey of ways in which the composers/performers make use of the specific instruments available (including mention of specific aspects such as instrumental sonorities, structure, and the use of specific performing conventions with the relevant tradition)

A convincing awareness of the ways in which approaches to the soloist within the concerto changed over time, supported by precise detail from the prescribed repertoire.


19

36 Discuss the use of percussion instruments in any two items of prescribed repertoire you have studied. [20]


The nature of the percussion ensemble employed in the prescribed items of repertoire

Awareness as aspects of percussion techniques and sonorities that are representative of each style or genre

The nature of the instrumental ensembles employed in each item of repertoire and the interaction between instrumental and percussion forces in each work

The contrasting approaches taken to a range of percussive sonorities employed across the prescribed items of repertoire discussed

An awareness of the influence external cultural traditions styles on the prescribed items of repertoire discussed

An awareness of the use of percussion instruments within the range of examples from each style of repertoire discussed in relation to the jazz style of each period


Describe the basic composition of the instrumental forces employed in each item of repertoire discussed, with more specific detail on the percussion forces employed

Show some awareness of the main ways in which each item of prescribed repertoire discussed makes use of percussion instruments

Refer to some basic features of the writing for instruments that are idiomatic and/or representative of the style of the individual composer/arranger/period or reflect the influence of external cultures and traditions

Mention some basic aspects of the music that demonstrate a degree of aural familiarity with the deployment of percussion sonorities within the prescribed recordings and/or scores


Specific information on the percussion forces used in each item of prescribed repertoire discussed, together with detailed awareness of the nature of the instruments and relevant performing techniques used

Specific details and examples disclosing detailed knowledge of the use of percussion instruments and performing techniques in each item of repertoire discussed

Specific and perceptive references to the deployment of percussion forces across a range of textures and sonorities, revealing a high degree of aural familiarity with the prescribed recordings and/or scores

Precise details of each composer/arranger’s handling of percussion instruments across a range of relevant features such as idiomatic writing, tessitura and improvisation

Specific and perceptive references to features of the prescribed repertoire that characterise the music as distinctly a product of the composer/arranger’s style and/or its historical context


20

37 In what ways did the recording conditions experienced by Miles Davis and Dizzie Gillespie contrast with those of earlier jazz groups such as the New Orleans Rhythm Kings? [20]


The performance conditions experienced by Davis and Gillespie, and the contrast with those of musicians working in the 1920s

The influence of recording technology and improvements in both recording equipment and technology for recording and reproducing music

The pressures placed on jazz musicians by the terms of legal contracts issued by the recording companies

The influence of the recording companies in promoting and marketing artists and its effect of the status and careers of band members


Reveal a basic awareness of the contrasts between the basic facilities offered to jazz musicians recording in the 1920s with the more professional studio environment that prevailed in the 1940s and 1950s.

Demonstrate a general awareness of the improvements in recording technology, both in terms of the equipment used to record performances and the sound quality produced, and also of the nature of the recorded product and the limitations this imposed on jazz performances

Show awareness of the importance of the recording companies in providing recording facilities and promoting ensembles

Provide some basic awareness of the restrictions imposed on jazz musicians by the demands of recording company contracts


Specific and detailed references to the nature of recording conditions provided for jazz musicians working in the 1920s and in the mid-twentieth century

Clear awareness of specific ways in which recording technology developed over the period in question, supported by detailed examples in relation to the relevant prescribed recordings

Precise and detailed references to the influence of recording companies on the conditions of jazz musicians across the period in question, with some evidence of the ways in which recording companies were influential in marketing bands and, to some extent, determining musical style

Detail relating to the working conditions of jazz musicians across the period in question, with reference to the contractual demands imposed on performers by the recording companies and the financial rewards given to performers meeting the contractual terms.

Oxford Cambridge and RSA Examinations is a Company Limited by Guarantee Registered in England Registered Office; 1 Hills Road, Cambridge, CB1 2EU Registered Company Number: 3484466 OCR is an exempt Charity OCR (Oxford Cambridge and RSA Examinations) Head office Telephone: 01223 552552 Facsimile: 01223 552553 © OCR 2016

OCR (Oxford Cambridge and RSA Examinations)

1 Hills Road

Cambridge

CB1 2EU OCR Customer Contact Centre

Education and Learning

Telephone: 01223 553998

Facsimile: 01223 552627

Email: [email protected] www.ocr.org.uk For staff training purposes and as part of our quality assurance programme your call may be recorded or monitored

mailto:[email protected]

http://www.ocr.org.uk/

Mark scheme G353 Introduction to Historical Study in … · Unit G353: Introduction to Historical...

Documents

Transcript of Mark scheme G353 Introduction to Historical Study in … · Unit G353: Introduction to Historical...